JSngry

it was also on an American LP reissue, which is how I got it. Only, mine had a square cover.

Nicole Mitchell on #7?

It's on Galaxy...hold on... here: GXY-5110 Tommy Flanagan - Something Borrowed, Something Blue Tommy Flanagan (piano, electric piano) Keter Betts (bass) Jimmie Smith (drums) Fantasy Studios, Berkeley, CA, January 30, 1978 Bird Song Good Bait Peace Friday The 13th Something Borrowed, Something Blue West Coast Blues Groovin' High ** also issued on Original Jazz Classics OJC-473, OJCCD-473-2 This got AM airplay here a lot when it was released:

Ok, finally got everything set up, now with the usual thanks and disclaimers firmly in place, let's play! TRACK ONE - Opening had me expecting Terry Callier, but nope. No idea. Sounds like she's hoping. I wish her luck. TRACK TWO - Gil Scott (not Jill Scott!). Funny how the classics never go out of style. TRACK THREE - Sounds like Sugarcane. No idea which album, a quick contrast of this track time with what I can find of the MPS albums shows nothing, but I don't know where else he's recorded, the guy was around forever. It is kind of a drag that the tempo slows down a little after some point. I was maybe thinking John Blair (remember him?) but I don't think he ever made a record like this. That guitarist has a weird kind of Tiny Grimes PLUNCK-iness, so I don't know, I don't think that's Tiny Grimes on guitar. TRACK FOUR - Jimmy Heath from the early-ish 70s, which were, I think, his best years overall in terms of making records. Curtis Fuller, what is this one? Released on Landmark after the fact, correct? Anyway, that's a good record, as was anything Jimmy Heath showed up on or around during that time. Also interesting here...you can hear the "Philly" sound in him here and how it also shows up in Grover. Some people don't like to hear that (for any number of reasons), but sorry, there it is. Grover had some Jimmy Heath I him, which is how it should be. Never did get why Fuller was pulled back in the mix with a little extra reverb...somebody made that choice for some reason, no doubt. I just don't get it. TRACK FIVE - Hmmm....sounds really familiar, but maybe just because of overall tendencies rather than specifics...also sounds sorta not fully formed in spots (but just spots), the mix suggests a Black Jazz record, how the horns are pulled back and the Rhodes and bass pushed up front. Is that Harold Vick on here? TRACK SIX - Billy. That's all I feel like I need to say, because that's really all there is to say. But ok, Mark Masters does good work, check him out too. TRACK SEVEN - a 70s Hutch BN with Ramon Morris on flute? Sounds like the flute is intended as the leader, but the band is more interesting to me. Whoever it is, they paid attention to the mix, that's a good thing to do. And the piece develops nicely. Can't say it blows me away or anything, but it's good, they did what they set out to do and did it well, even that little Manteca thing that the bass line keeps referencing. I might like to hear what this sounds like in context of the entire album TRACK EIGHT - Mark Masters doing more good work, this time with Grachan and again with Billy. That's another good record. TRACK NINE - This type of thing just sounds silly to me these days. TRACK TEN - Beach Boys Party gone wrong! Dick Dale & The Ventures break in the room and start pissing on the food, Brian gets his feelings hurt and retreats to write something sensitive, Marilyn feigns anger but does not avert her gaze, people get laid, some now, some later, and sooner or later the cats eat the rest of the food, even the pissed-on stuff. Doesn't sound silly like #9, but I'm not into it, like, how may layers of reference are allowable before it becomes all about the reference, and how much pissed-on food do you have to eat to get the point and form an opinion?? TRACK ELEVEN - Sounds like a Tony band. I like it for the band sound, sounds like a good band, any band that has Tony on drums is going to sound good...but wait, that tenor player is not a toney tenor player, so...what is this? Still sounds like a good band, but if not Tony...hell, Tony sounds great even when it's not Tony. TRACK TWELVE - Oh hey, Gil again! TRACK THIRTEEN - Moody! Nice mix, thanks!

David Letterman Dr. Harold J. Numbers Certified Character

Outside of classical....My son is a fan of Emery, and apparently they do living room concerts, office suite concerts, any number of small, intimate venues, as well as club dates. I heard a recording of one of their smaller venue performances, and it was great. No need for sonic overkill, and no distance between band and audience. Seems like a workable concept economically and a winning one esthetically. Not sure if expanding the audience is nearly as important as creating a more direct experience for whatever audience is there. I can tell you that 50 people who are deep into it is more rewarding to perform for than 500 (or 5000) who are just sorta there, out "there". 50 people who are reached deeply can move a lot of...whatever is moved in terms of audience.

Very lyrical player, too many memorable contributions to list...between him and Lee Allen & Red Tyler...talk about all the 8, 12, and 16 bar solo perfections of the 78 era for jazz, here they are for New Orleans R&B, little gems on damn near every record, or so it seemed. Soulful, lyrical, swinging little gifts right in the middle of any record, made a bad record good, a good record better, a better record great, and a great record eternal. RIP, and that AIN'T a shame.

The third Mingus Bethlehem was an issue of the Period album, same thing that came out on Everest.

As a product of both the 1970s and the Nonesuch Explorer series, yeah, I've been dabbling with attempting that for a while now. Only been able to replicate the effect when I've had a cold or otherwise had shredded vocal chords. And that's not what you're supposed to do, you're supposed to use your oral cavity/skull as a resonator to get the overtones to pop on out like that. But yeah, the whole Tibetan Buddist/Bavarian Illuminati/Trilateral Comission thing, back then, how could you miss it?

Yeah, this here: http://bluecandlelight.org/

They've had something like that going on here for a few years now, public chamber music concerts in private homes...I might like it, but I've been in some of those homes playing wedding receptions and such. for the time being, no thanks.

Some things, like the parallel timelines, I didn't even try to figure out logically, figured it would all be revealed in the end. And it mostly was. Also, hey, motifs, themes and variations, recaps of themes, modulations, orchestrations, all that...script and editing as score/composition...I can do that if I feel it, and this I was feeling! The hardest part was emotional...watching the unfettered/unleashed predatory nature of too many humans acting without fear of consequence just seemed more real than I wish it did Other things turned into hunches that either did or didn't pan out as the episodes progressed. Have spent a large part of my free time today ready/catching up on all the "fan theories". What surprised me was that there was/is a Delos "company website" that sounds like fun if you have time for that type of thing (which I really don't), and how, like Mr. Robot, there are scenes where freezing the scene on a screen with coding can actually yield easter eggs. I'm not really all that into participating in that type of thing, but certainly think it's a nifty way to engage viewers past the traditional passive reception paradigm. One theory I formed which I haven't yet seen discussed - was Arnold EVER real, or did Ford create him Arnold as some kind of alter-ego who he then got frustrated with and termed out, only to rethink and rebuild into Bernard? And for that matter - was Ford himself ever purely human? The latter is a bit of a stretch, but consider the whole Delos thing, look at the real Delos, the Greek isle, see what's up there? And consider how William, the owner of Delos, is coming back for the next season, both gratified by Dolores/Wyatt and "lucky" to have survived it. Ford says that they - Delos - were the ones playing god, that it started when they came into the picture. It's easy to think that Delos came into the park once it was underway, but isn't it mentioned earlier on that the purpose of the visit with young William and...what's his name? was to consider an expansion of "the company's" ownership? Perhaps the whole thing was actually begun by Delos as R&D and that visit was to assess whether or not the project was a go? Throw this into the mix - the photo of Ford & "Arnold" that Bernard first saw as two people was, as it turns out, a picture of Ford and the being that is his "father" from the hidden host house that Bernard discovered. Maybe it's more than Arnold never being real, maybe this is a Cain & Able thing where the slain brother is given a chance at redemption...and maybe both brothers came from Delos? Or....maybe ford is actually still evil, tempting the innocent hosts into consciousness...consider his statement that the decision was made that consciousness evolves from suffering, consider the meaning of the name "Dolores", and then consider that the first thing Dolores does when gaining full consciousness is to start behaving like a human and just laying waste to shit all around her. Paradise Lost or Found? Ford/Arnold liberator or trickster? Of course, the whole thing will ultimately "mean" whatever the writers decide for it to mean (and that's something I LOL-ed at, the irony of a story about a storyteller in complete control of his characters he creates actually being told by storytellers who by necessity have to be in control of the characters they create, and what better way to end it than just blowing everything up, the story-equivalent of taking the last page out of the typewriter, wadding it up, throwing it away, and going on to the next one?). The whole Ford/Arnold/Delos thing, though...the immediate references for me as I watched it unfold were the various version of the Jacob/Esau tale, the "stealing of the blessing", in particular the NOI variation involving Yakub, and this significantly more pop-culture theme. Again, it's just a tv show, and a big part of the fun of stuff like this is that it allows you to project all sorts of things onto it. If it's where the writers decide to go, you're right, and if not, you're not. But I do enjoy finding something like this, a vehicle which allows for projection of some pretty basic existential quandaries. I allow my enthusiasm because I know that none of it is real, it's just other people projecting their shit onto a dramatic production. But they do it so damn well, eh?

The Lemon Drop Kid The Kid From Red Bank The Rotten Kid

Speaking of Kenton...hard to call anything that any commercially viable big band leader did in response to market trends/record company pressures "out of character", and Kenton had always made overtly "commercial" records, that was part of his trip almost from the beginning, but this one caught all kinds of heat...it's pretty much a Ralph Carmichael record with Kenton's name and only some of whatever band he had at the time on it I.e. - mostly a studio assemblage, although by definition that would include some Familiar Kenton Names), and when it's not busy sucking really hard (which is often), it's actually a somewhat interesting example of newer recording technologies & post-psychedelic Technicolor MOR. Music aside, hey, sexy album cover. Tony Scott in a Trad-ish setting. He's fine. The setting, maybe not so much.

I don't know if Duane has it or not, but I do, and...it's basically a Technicolor Tex Ritter album. Too much of a maybe not that good of a thing. Personally, I'd have preferred Thelma Ritter. But...Joe used a contingent from it on parts of Black Is The Color.

That Tommy Flanagan thing where he plays Rhodes...not out of character musically, but sonically... Also, the art Pepeer fusion record he made with Hersh Hamel...that one actually turned out pretty good, who knew?

http://www.jazzdisco.org/bethlehem-records/catalog-6000-5000-series/album-index/ http://www.jazzdisco.org/bethlehem-records/catalog-deluxe-series/album-index/ I'll put it this way - if you see a name(s) you know, their Bethlehem records are worth checking out, all of them. A few people, like Mingus, Booker Little, Nina Simone, & Ellington, made some very good/historically important records for the label that you should have if you collect at least partially from an archival standpoint. Some people, like J & K, Frances Fay, Mel Torme, & Chris Connor, had hits for the label that were of top-shelf quality (if that's your bag). The lesser/more "unknown" names...what I've heard of them has been at worst not bad. As for "pleasant surprises"...The Howard McGhee record was a lot better than I expected it to be, really, and I didn't exactly expect it to suck. And the Harold Ousley record really came out of nowhere for me - Charles Davis AND Julian Priester. Sallie Blair was fun enough, although an afternoon was really enough. Rouse/Quinnichette was a good ride, the Charlie Persip record even more so. I find the Dexter Gordon things (with and without Stan Levey) to be really close to being really good, but....there's better by both I'd look for first. However, if you've been there and done that, hey, here THIS is. In general, if you're not paying too much, if you see something you think you might like for the price, you probably should go ahead.

Red Dorris Dorito Dave The Frito Bandito

Binge-watched Westworld over the weekend, caught the finale in real time last night....quite a bit to chew on!

Bob Thiele & Flying Dutchman again. Although a case can be made that there was really nothing out of Louis' character, considering how much of it sprung forth in his wake.

From the point of view of a Lawrence Welk record, delightfully out of character!

It's not Oliver's best work, not by a long shot. You know that bit about love means never having to say you're sorry? This is the album that calls bullshit on all that.

Checking out Ted Hearne on YouTube...a lot of it seems to be "clever" but some of it has some good meat.